A few years ago I had the pleasure of reviewing the Arte dei
Suonatori ensemble’s recording of this same repertoire
from the BIS label (see review).
While I am aware of a number of alternatives, this has remained
one of my favourite versions of Handel’s Concerti Grossi
Op. 6 when it comes to the ‘authentic’ early
music approach.

Arte dei Suonatori enrich their sound with the plucked resonance
of an archlute, as well as giving the strings extra oomph with
a chamber organ to provide contrast from the more familiar harpsichord
continuo. The Combattimento Consort sound is a touch crisper
in general, with greater weight to the massed string sound and
the added continuo frills having less weight and impact as a
result. The harpsichord is not particularly high in the recorded
balance and neither is the organ or chitarrone. This is indeed
as it should be in a typical concert setting, and the sonic
perspective is rewarding and realistic. The concerti 1, 2, 5
and 6 also have oboes and bassoons added, which adds another
refreshing but quite subtly treated contrast to the set.

Without taking on a blow-by-blow comparison, the set you will
prefer depends on your taste in terms of sound - both versions
being to my mind satisfying in their own right. Arte dei Suonatori
has less robust string tone, conjuring a sense of more stately
elegance and intimacy in a chamber setting, for instance in
the opening of the Concerto Grosso No. 1, acquiring drama
in hushed suggestiveness even when the faster tempo kicks in
the second Allegro e forte movement. The Combattimento
Consort is grander and more imperious in this striking opening,
creating greater dynamic contrast between the tutti and solo
sections and providing taught textures in that driving second
movement. This a generalisation but these are typical differences
between the two sets, and all reasons I’m happy to hang
on to both.

Performances from the Combattimento Consort Amsterdam are excellent
throughout in this Handel Op. 6, and my interest was
held at every point. The ensemble and soloists relish the gorgeous
suspensions and dissonances in these works, and Handel’s
little quirky little moments of general shaking and ornamentation
are done marvellously. Dramatic passages such as the Largo
of the Concerto Grosso No. 2 are given pretty extreme
treatment but nothing which goes beyond the idiomatic pale,
taking on more the characteristics of Vivaldi or Biber in exploring
Handel’s inventiveness with his strings. If it’s
bagpipes he has in mind for instance, such as with the Polonaise
of the Concerto Grosso No. 3, then it’s bagpipes
you hear.Counterpoint is presented with animation and
stylish consistency, attention is paid to colour and detail,
and the sense of commitment from all concerned leaps out from
your speakers the whole time. There are some striking special
effects as well. Have a listen to the first movement of the
Concerto Grosso No. 6 and revel in that remarkable moment
50 seconds in where Handel almost meets Petrushka.Subtle
tenderness is a great strength to go along with all of the acrobatics
and energy, the opening of the Concerto Grosso No. 7
just one of many points of melting beauty and affecting musical
expression. With excellent notes, scholarly but approachable
annotation and a short comment on each concerto individually,
the booklet also reveals changing soloists with the violin duos
between each concerto. You won’t however be struck by
any shift in standard or intrinsic qualities, and I can’t
say I noted any particular favourites.

Stirring, exciting and moving in equal measure, this is a Handel
Op. 6 with which to reward yourself, and which will deliver
pleasure for as long as you possess it. I’m not sure how
many recordings this team is making or still has in the can,
but with Jan Willem de Vriend leaving the ensemble to pursue
his blossoming career as a conductor we have to wait see what
will happen in the future. Such a magnificent production, superbly
recorded and excellent both in plain stereo and startling SACD,
is therefore cause both for celebration and poignancy. Snap
it up while you can.

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